12:19 Music visualization displays two morphing, purple ellipses, melding in and out of one another.12:20 Swells and muted tones. The cyclical sequence begins.12:21 The dominant feeling of the album: We are now moving forward in time. But toward what?12:22 They’ll probably mock my use of the music visualizer; I have no regrets.12:23 That twinkling angelic harp sequence above it all. Listening as if reaching up for it. Music flees our grasp.12:24 Neon staircases upwards. Approaching the godlike attractor at the center of this piece.12:25 Ellipse: like an orbit.12:26 Explosion, bits of the golden chariot I was riding swirl as obliterated rainbow dust around the attractor.12:27 Burst of radiance as the attractor explodes; debris catapulted into the distant reaches of space.12:28 Is there no escape? Infinite headspace is brutally silent.12:29 They say that Pluto has a fifth moon, but aren’t they just a network of moons spinning in chaotic orbits around one another?

“11:38”

12:30 Final particles trickle away. I should have timed this entry to coincide with the track’s title.12:31 Warp speed toward hyperdawn. A physicist made a video of what moving at light speed would look like, but I prefer the sci-fi versions.12:32 How many rhythmically distinct sequences can you have going at once? The limit must approach infinity, but merges into one.12:33 Layers upon layers. This makes abundantly clear that you have to focus. You can’t listen to all the parts of a piece of music at once.12:34 Music visualizer displays orb revolving rapidly and bursting with radiant light. Seems appropriate.

“The Fifth Column”

12:35 Headphones provide the necessary isolation for this record. Space junk of any kind would cause this starship to jackknife.12:36 And yet, if it weren’t somewhat late, I would turn it up until the bass resonated through my ribcage.12:37 Music visualizer depicts intensifying tunneling motion as rippling concentric circles. But toward what?12:38 Contractions/expansions/contractions/expansions/contractions/expansions/…12:39 Cat jumps into lap, shattering spacetime continuum.12:40 What is he saying? WHAT IS HE SAYING? What did the entity say?12:41 Since the beginning of this piece, have I too evolved into a wholly different creature?12:42 One day I hope to see a flying saucer synthesizer orchestra (as in the band on a cruise ship). Until that day, I will have this record.

“October 27th, 1989 - Bay Village, Ohio”

12:43 It just… keeps… moving… forward…12:44 Strong sense of the music pulling my attention with it at high speed. My astral body struggling against psycho-physical G-force.12:45 The visualizer is also called G-force. Synchronicity achieved.12:46 Why isn’t this considered dance music? Like, as in the music that machine elves dance to on their 72-dimensional dancefloors.12:47 Who brings a laser pulse rifle to the club? Elven vocoded screams resound through the manifold.12:48 At some point, everyone dies. Just like that.

“February 8th, 1990 - Ashland, Ohio”

12:49 Someone else’s memories. Someone else’s life. From a hang glider, watching ghosts moving through a bank of fog.12:50 Memory ghosts insist on lifting the floodgates of empathy.12:51 Mourning angelic voices give way to the bare counting of time in its passage. But toward what? Toward the future.12:52 Echoes — it occurs to me that echoes are haunting because I remember what they sounded like before they decayed.12:53 I really wish this album weren’t so short. I could listen to two or three more hours of it.12:54 Semitones collapse on themselves and all discomfort resolves. At the root: arrival.

Some musical ruptures are so penetrating, so incisive that we just can’t help but exclaim EUREKA! While many of our picks here defy categorization and test the boundaries of what exactly discerns ‘music’ from ‘noise,’ others complement or continue anachronistic traditions that have provided new forms and ways of listening. We consider the section a work-in-progress, so expect its definition to be in perpetual flux. Check out the section here.